"When the fifth generation first came out, it was completely anti-drama, anti-story, and pursuing a sense of form and visualization. Because the social atmosphere at that time was more humane, and the whole people were thinking. If you are more weird enough, you have a market. It is the so-called cultural elite market of Big 6. People will look up to you. For example, when the red sorghum took the golden bear, Zhang Yi was simply going to give a great responsibility to this person, shouldering the feeling of the rise and fall of the country."

On the stage, Zhang Xianmin talked happily and continued: "And Western society loves to watch these things. We have had a cultural gap for more than ten years, but we have never appeared internationally. They think that China is particularly mysterious. The fifth generation of films did not reflect China at that time, but because of this voyeurism, they achieved those honors. Then in the late 1990s, the sixth generation emerged, and the West's interest in China also changed. They wanted to see something relatively real. So the early sixth generation of those who showed the confusion caused by marginal groups and urban-rural changes, and there were a large number of markets overseas. What do I mean by these? The changes in domestic art films and the changes in overseas markets have always complemented each other and have a mutual effect."

Beside him, there were several guests sitting, namely Ge Wen, Shinsan Ichikawa, Duterron, Albert and Cheng Ying. In the audience, Cao Baoping, Jiao Xiongping and others were still there, and there were also executives of several film and television companies.

Yesterday we exchanged the living conditions of some new directors. Today we are a little more advanced, addressing the problems and confusions encountered by domestic films overseas.

After Zhang Xianmin finished speaking, Ge Wen digested the contents of the translation machine and nodded, "I agree with Mr. Zhang's opinion. In 1994, Wang Xiaoshuai came to Rotterdam with the days of winter and spring, and the techniques and thoughts in it surprised us. But if another director came to Rotterdam with similar works in five years, even if he was filmed, he would not hesitate to turn it out. Because you have no innovation and progress, the movie will replace a group of audiences and aesthetic tastes in three years. As a director, he is still following the old path of his predecessors, which is a very terrible thing.

I have watched many Chinese independent films. Whether new directors or relatively mature directors, they usually make some of the same mistakes. For example, they like to combine documentaries and drama films. The best thing in China is the Three Gorges Good Man. But it is already at its peak, and latecomers do not even think about making some changes. Even when Western audiences are tired of watching, those new directors are still making this kind of attempt.

In addition, I think Chinese independent films are very slow, and 80% of people will use long shots to express the so-called cruel life. These sentences may not be very good, but I do think that the quality of those films is very low, the sound is poor, and the subtitles are basically unintelligible. Moreover, the genres of Chinese films are very single and the subject matter is very scarce. They lack the ability to attract audiences and cannot achieve reasonable connection with reality."

The foreigner spoke straightforwardly. After this, everyone's face was not very good.

Immediately afterwards, Albert, a former film picker in Cannes, said: "I deeply agree with what Mr. Ge Wen said. But I want to continue Mr. Zhang's topic. He just talked about the symbiosis between movies and the market, which is very interesting. I think the exploration and exhibition of Chinese films overseas can be divided into three stages. The first stage is from Red Sorghum to Farewell My Concubine, and the second stage is from winter and spring to the Three Gorges Good Man. Mr. Zhang has already explained the coexistence relationship in this. What I want to say is the third stage, from now to the next ten years. In fact, not only Chinese films, but also the film and television industry in the world is facing a return to storytelling, except for Hollywood special effects films."

He paused and continued: "The audience now needs to read a good story, which is an instinct that we have since childhood. You can shoot unpopular subjects and use strange techniques, but they can only be favorites at the film festival for a few days. They will immediately make the original form. I think most Chinese directors lack the ability to tell stories. Now it is the third stage, and you are still using the second or even the first stage to create, so the market certainly does not accept it."

As soon as he finished speaking, Cheng Ying pulled the microphone and said, "I have been following the company overseas and traveling, and I have a better understanding of this aspect. Let's talk about my feelings in China first. When the incense came out, the critics were all applauded. But its targets were only in the film and cultural circles, the so-called elites. By the time of the Stone, the market was gradually established in China, and those who entered the theaters were mainstream urban intellectuals, such as college students and office workers. They had a low discussion on political forms and had high requirements for technology. I spent money to watch movies, and you had to give me a sense of satisfaction, otherwise I would feel wronged.

Then talk about overseas. I just mentioned the good people of the Three Gorges just now, and I also hold the same attitude. The West's aesthetics of Chinese independent films have long reached a saturation and urgently need to be transformed. For example, when I was in the glory last year, most viewers' reaction was, hey, why is this set again? With the same subject, they are even willing to watch works from small countries such as Vietnam and Israel because they have a sense of freshness."

"I would like to add that China lacks understanding of overseas markets. Those filmmakers often carry films to the three major film festivals and then ask us if we can do business. This is too difficult. A professional business company should intervene in the early stages of production. There are strategies for which film festivals a movie should participate in and how to participate in it."

Duteron even slapped the film in the face and said, "I suggest that young directors learn from Wang Jiawei, go to theaters around the world, learn about the world language of the movie, and don't be self-confidence."

""

Everyone was speechless, especially the children with ideals and dreams, who thought that the golden age of Chinese films was coming, but who would have thought that there was such a problem hidden under the high flag.

At this time, Ichikawa Naozo, who had never spoken, was still slowly working hard: "Instead of discussing this topic, why do you ask yourself first, as audiences, why don't you want to watch movies in your country? Peacock and Blind Well are recognized masterpieces, but in addition to these senior movie fans present, if you do a general survey, how many people do you think have watched it?"

""

The audience was even more silent.

Your sister!

I'm going to make a mess with you?

Chu Qing hurriedly asked for the microphone, stood up, faced the young people, and smiled and said, "You don't have to think too complicatedly. In fact, it's very simple. Movies are just about shooting whatever they want. For example, without cars before, we couldn't shoot road films. In the past, we had no special effects, so we could only watch Xiaolongren. In the past, there was no Internet before, and even implanted advertisements seemed stupid. So don't be discouraged. If you love movies, you have to give it time to show it.

Of course, remember one sentence: No matter what works you shoot, don’t always pay attention to China’s past, we still have the present and future!”

Film Bureau, sunny.

Tong Gang sat behind the desk, reviewing a stack of documents. These are not ordinary documents, but internal references to be submitted to the General Administration. Since they are internal references, there are naturally many hidden news that are frightened.

The one in hand is a suggestion on domestic theater investigations and increasing policy support. It is not possible for ordinary clerks to write them out, and a group of pens who have corrected the wrongs are specifically responsible, commonly known as "film master".

He scanned it again, felt that there was no mistake, so he put it on his left to indicate that it could be submitted. Then, he picked up the second one and couldn't help but frown: About the summary of "Movie Power" activities and media, industry evaluation selection

Tsk! This grandson will be looking for trouble!

Director Tong patiently opened the first page, which was a detailed description of the entire event, focusing on the two exchange meetings, including the guests' words.

The writer wrote very objectively and tried not to mix personal emotions. However, Tong Du still noticed something, and the master praised him with great appreciation.

He read very slowly, more meticulous than the previous one. He turned to the end of the page and closed the book for a while before he wrote annotation: he was a little extreme, pragmatic, knowledgeable, talented, and willing to promote internal and external exchanges. Please consider the matter of preparing for the Beijing Film Festival.

Then, slowly placed it on the left hand side. (To be continued.)
Chapter completed!